Megan and Whney Ban-Evans w IVF ‘gay tax’ battle

Contents:

• LBIAN UPLE W IVF ‘GAY TAX’ BATTLE
• JAGUARS ASSOCIATE STRENGTH ACH OUT AS GAY A FIRST FOR US-BASED PRO LEAGU
• HAVG A GAY OLD TIME TURKEY
• WHAT’S IT LIKE TO BE GAY … MOROC?
• FORD ROLLS OUT 'VERY GAY' TCK RPONSE TO HOMOPHOBIC TROLL
• GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY
• GAY MAL

LBIAN UPLE W IVF ‘GAY TAX’ BATTLE

A lbian uple who lnched a legal battle over equali IVF treatment between heterosexual and same-sex upl have dropped their fight after their lol re board pledged to make treatment sts media fluencers Megan and Whney Ban-Evans lnched a landmark “gay tax” discrimatn se after NHS Frimley Integrated Care Board (ICB) said same-sex upl, sgle women and upl unable to have vagal terurse would have to pay for 12 rounds of IVF before qualifyg for NHS assistance. SiegedSec, a self-scribed group of gay furry hackers, took s skills to state ernments late June, breachg agenci across five stat and releasg a wealth of data.The stat targeted on June 27 were Texas, Nebraska, Pennsylvania, South Dakota, and South Carola. "Uwu gay furri pwn you~ We'll be back aga soon to ntue our chaos and stctn!"Some news outlets, such as Them, raised ncerns that the group's actns uld expose random people to harm, not jt the targeted ernments.

For those who heard about the se of Ray Cole—a Brish tourist arrted last year Marrakech, Moroc, on spicn of mtg “homosexual acts” and sentenced to four months’ hard time a Morocn jail prr to his early release— is perhaps difficult to image that Moroc was somethg of a gay paradise for whe men of standg the aftermath of World War II.

JAGUARS ASSOCIATE STRENGTH ACH OUT AS GAY A FIRST FOR US-BASED PRO LEAGU

Gay life tak place the pths of certa hammams (Turkish baths) and the back rows of cemas, if people happen to know the right spots; needls to say, cisg plays an important role.

HAVG A GAY OLD TIME TURKEY

Seen this light, the se of Ray Cole n be said to be another part of the story of the wherg away of gay life Moroc, or at the very least, the end of turng of a bld eye to . But what is more signifint about Cole’s se is that monstrat the te realy for gay men Moroc, namely, that while the laws on homosexualy are enforced nsistently, there is evintly a double standard employed their applitn.

The lerature available to potential gay travelers to Moroc—of which there is a great al sce, spe of laws and social norms there, Moroc remas a prime statn for package holiday-goers om Bra, France, and Germany—is very clear settg out what is and isn’t acceptable. The scen of Cole’s fay greetg him at Bra’s Gatwick Airport ntrast starkly wh how gay men are treated Morocn society: looked down upon, rejected by their fai, dismissed wh the Maghrebi Arabic slur zamel. “More than [Cole’s] own se, what happened to him shows how vulnerable gay Morocns are, ”Abllah Taïa, a Morocn wrer and filmmaker who now liv exile, wrote The Guardian, “They are at the mercy of anyone.

WHAT’S IT LIKE TO BE GAY … MOROC?

” To the qutn of what is like to be gay Moroc, then, the answer very much means one thg to a Wtern visor and que another to Morocn natnals, who are nsired by their society and their state to be of lser value. ” What happened next was a masterclass shuttg down homophobic a vio released on Twter by Ford Europe, the tomaker revealed s new and improved “Very Gay Raptor” cked out rabows and gold glter.

A 60-hour procs saw the vehicle draped rabow and gold glter Alpha foil, then topped wh rabow and heart isn’t even the first time that Ford has cked out a Gay Pri vehicle. In 2007, Kaos GL, a bimonthly publitn of the Kaos Gay and Lbian Cultural Rearch and Solidary Associatn Ankara, Turkey, voted s November/December issue to “Turkiye’n Gay Ikonlari” (Turkey’s Gay Ins). “Indian Gay Ins: Queers Like Us, A Tribute to Indian Gay Ins” was scribed by Bombay Dost, a lol LGBT magaze, as “an exhibn of Indian gay ins featurg some of the te lears of the queer stggle who also spell excellence their profsn” (The Bombay Dost Team).

The projects Turkey and India provi evince for the emergence and creasg importance of visual reprentatns, cludg gay ins, the formatn and bolsterg of ternatnal gay muni non-Wtern ntexts. In this article’s discsn of the Turkish gay ins popular culture and the ntemporary lbian and gay practic of visual rhetoric Turkey, I analyze three sets of ntemporary reprentatns and the acpanyg practic of visual rhetoric: 1) two Turkish celebri who are wily visible genr transgrsors Turkey: the late Zeki Muren (1931-1996), a flamboyant queer male sger, [2] and Bulent Ersoy, a male-to-female transsexual sger, both of whom Kaos GL rears voted “gay ins”; 2) the gay ins issue of Kaos GL, a Turkish LGBT muny magaze prt, which adapted the Wtern ncept of gay ins to the needs of the Turkish LGBT muny through a cril engagement wh the ncept; and 3) the llegiate lbian and gay fliers, webse, and “fanz” (Turkish transleratn for “fanze, ” i.

FORD ROLLS OUT 'VERY GAY' TCK RPONSE TO HOMOPHOBIC TROLL

E., fan magaze) of Legato, the acronym for Lezbiyen Gay Topluluğu (Lbian and Gay Associatn), a llegiate stunt group anized through the Inter g mailg lists and a webse.

In this manner, I monstrate that while visual rhetoric n empower non-Wtern lbian and gay populatns to rist the domant lol reprentatns of homosexualy and produce and dissemate affirmg alternativ, the medium utilized and the uneven ndns of productn and circulatn om one medium to another terme the extent of the relative fluence of existg reprentatns. I nclu the article by discsg the implitns of this rearch terms of global queerg and the related practic of visual rhetoric by ternatnal lbian and gay young adults. For Turkish lbian and gay dividuals the 1980s and 1990s, this search often began wh the genr-bendg celebri Zeki Muren and Bulent Ersoy, who appeared extensively on stage and mastream Turkish media on televisn, films, and newspapers.

Yet, paradoxilly, this visibily did not mean that Turkish society accepted non-normative sexual and genr inti, cludg homosexualy, and the knowledge about sexual subcultur still remaed “fugive” spe the mass-mediated queer visibily of the two celebri.

GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY

In Figure 2, Muren is also pictured on the ver of one of his albums (both Figure 1 and 2 were published Kaos GL‘s special issue on gay ins, which I discs the next sectn). To illtrate how Muren has bee a figure of genred cency, spe his genr bendg, Stok discs what he lls Muren’s “astute tactil mov” (310) terms of his overall public image, relign, and his homosexualy. [4] Muren’s tactics to steer his public image clear of his homosexualy this manner, through his claim to ancient, allegedly heterosexual masculy, were also supported by other mass media reprentatns.

From the perspective of the homosexual dience, however, as I discs the next sectn the ntext of Kaos GL‘s special issue on gay ins, Muren and Ersoy’s barga wh the heterosexist hegemony is seen as havg negative nsequenc for this particular segment of the Turkish dience, sce meant distancg, nial, and erasure of LGBT existence, fuelg heterosexism and homophobia Turkish society. Kaos GL’s special issue was revolutnary that ma known the existence of gay ins, and by implitn, of a gay dience, Turkey through s labelg of celebri known by all Turks as “gay ins.

” However, this labelg of the Turkish ins on the top ten list piled by Kaos GL as “gay” refers to their fluence on the Turkish gay dience, pennt of whether or not they personally or publicly intify as beg gay or homosexual, or even profs any solidary wh the LGBT muny. In fact, only two (male thors and poets Murathan Mungan and Kuc Iskenr) out of the ten people listed are known the gay muny to intify as gay; the remag eight ver a broar range of the genr and sexual spectm: a heterosexual male, heterosexual femal, a queer male (Zeki Muren), and a male-to-female transsexual (Bulent Ersoy), wh Muren and Ersoy beg historilly the most visible genr transgrsors and wily promoted ins the Turkish mass media, as discsed the prev sectn. While the (sometim multiple) pictur of the top four ins, Han Yener (female pop sger, seen Figure 3 on the ver of the issue), Ajda Pekkan (female pop sger), Murathan Mungan (gay male thor and poet), and Aysel Gurel (female pop songwrer), are promently featured as part of one-to-three-page articl about them, there are only two small (one ch by one ch) photos of Zeki Muren and Bulent Ersoy (the photos are the same imag I discsed the prev sectn).

GAY MAL

The magaze’s edors published the photos next to the rears’ ments about why they view certa celebri, as opposed to others, as gay ins; the imag and the ments are prted a separate one-ch pk strip that ns across the bottom of the pag that clu the issue’s in-related articl.

The paratively small size and the placement of the pictur of Muren and Ersoy downplays their importance visually, spe their beg historilly the most fluential and visible ins thanks to the mass media; some of the articl discs and cricize their ambivalence and ambiguy as “gay” ins tail. As for Zeki Muren, Guner, the same Kaos GL lumnist, lls him “our homophobic in” (41) and lks Muren and Ersoy’s legacy of distancg themselv om the LGBT muny to Tarkan, a younger pop mic sger who was also clud on the list of the top-ten gay ins.

Most recently, Tarkan, a self-proclaimed heterosexual— the face of qutns about his sexual orientatn, not to mentn his naked pictur wh another male on the beach—adopted the same strategy of nformg to the Turkish public’s genr expectatns through statg, for stance, that homosexualy uld be cured through psychoanalysis. Such distancg om the gay muny has ed Guner to scribe him as “a closeted celebry who ntu the societal lie about homosexuals and homosexualy that began wh Ersoy and Muren” (41). As a person who grew up watchg Bulent Ersoy and Zeki Muren, I n say that seeg more openly gay or non-homophobic celebri will be a lifaver for many homosexuals who grow up wh self-hatred this untry.